W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1977 Reversals of Fate in "The Knight's Tale" John Wing College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the English Language and Literature Commons, and the Medieval Studies Commons Recommended Citation Wing, John, "Reversals of Fate in "The Knight's Tale"" (1977). Dissertations, Theses, and Masters Projects. Paper 1539624981. https://dx.doi.org/doi:10.21220/s2-770j-q516 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Reversals of Fate in the Knight1s Tale vt A Thesis Presented to The Faculty of the Department of English he College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by John Wing APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author Approved, April 1977 ,arl Daw, Jr. §LL\&aJLl#__ Charles E. Davidson Japfes B. Savage 61$ fit. Cof t / n a n § 6 0 9 8 3 ABSTRACT Chance and the fortuitous govern a series of seven crucial events in the Knight * s Tale, which form the controlling pattern of its advancement and outlook. While Boethian language, such as the words cas or aventure, is used in describing many of these chance events, the attendant Boethian values of perceivable justice and divine order are absent. For example, along with the constant inter­ vention of the irrational, Chaucer also suggests the near equality of the protagonists as moral beings, making their fates irresolvable in terms of justice and reason. Chaucer emerges as the ultimate philosopher in the Knight Ts Tale, with a proverbial exhortation to make a virtue of necessity in a world which has an abiding sense of the.mysterious. The Knight commences the tales of the Canterbury pilgrims because Mby aventure, or sort, or cas," the cut falls to him: Chaucer as narrator has very simply introduced via this detail the mundane reality of chance, which in the KnightT s Tale will be an ineluctable motif, pervasive and philosophic, inciting sympathy in the audience. Whether or not the divine mind impels the slightest tendre Aprill flour, pilgrimage, each cas or 1 aventure, and the deeds of a furie infernal, things lie beyond the control of persons — an other imposes itself — and personal responsibility, at least for the events of this world, becomes a moral illusion or a mystery. From its first sounding in the drawing of the cut ("Welcome be the 2 cut, a Goddes name!" says the Knight, 1. 854), the motif of chance con­ stitutes a seminal structure in series leading to "the grete effect for which [the Knight] bygan." Within the tale itself, the first event attri­ butable to cas or aventure is the discovery of Palamon and Arcite. They are very nearly dead amid death when found by the pillagers in the heap of bodies, once Creon’s army. Since the knights might easily have succumbed to their wounds, their very lives become identified with fate. The significance of timing is reflected in this happenstance, and asserts a value on each chance event. For example, the next fortuitous occurrence is the sighting of Emelye. It happens one particular "morwe of May," after an imprisonment of long duration: "yeer by yeer and day by day." Emelye might have been seen before — upon some earlier May — which suggests a discrete moment within a great extent of possibility. Moreover, in the matter of timing, it is important that Palamon sights Emelye first; otherwise there might never have ensued a mutual challenge for the lady. 2 The next key development in the Knight * s Tale is the chance release of Arcite from prison, governed as it is by the chance circumstance that Perotheus knew Arcite at Thebes and not Palamon: "Due Perotheus loved wel Arcite, / And hadde hym knowe at Thebes yeer by yere [sic]" (1202-03). The knights are grieved reciprocally by the release which sets them physically apart, thus serving to further their rivalry and lead toward their first martial confrontation. In preparing for that very confrontation, the Knight’s phraseology parallels — as it has consistently — that of Chaucer’s the narrator when he spoke of aventure or cas in the fall of the cut to the Knight. Indeed, the Knight draws attention to the timeliness of Palamon’s escape: ”It fel ... in the seventhe yer, of May / The thridde nyght" (1462-63): such timing will bring it about that Palamon meets Arcite in the grove. Then follows the familiar refrain, which has its eyes on fate: "Were it by aventure or destynee — / As, whan a thyng is shapen, it shal be" (1465-66). Arcite’s May observance in turn involves a mystic navigation which will take him to within Palamon’s hearing: Out of the court, were it a myle or tweye. And to the grove of which that I yow tolde By aventure his wey he gan to holde. (1504-06, italics added) Fifth in the chance motif series within the Knight’s Tale is the intervention of Duke Theseus into the combat of the two warriors. As I shall later discuss the entire series in detail, here I wish only to note the Knight’s testimony of faith, in Boethian fashion, as to the timeliness of the event (1663-69) and the divinity behind human appetence (1670-72). Two additional unforeseeable developments concatenate to give the 3 Knight’s Tale its special mystery: one of these is Theseus1 sudden modifi­ cation of the battle conditions. For although Duke Theseus gives a well- received reason for the new rules of the contest (to save lives), whatever serves him with the impetus for reaching his decision at so late a stage is never revealed. Instead, like the Athenian audience and the protagonists, we receive from the herald the impersonal and formal injunction, and its dramatic effect has the unpredictability and finality of an event in nature, beyond ourselves, and especially beyond the influence or control of those directly involved, Arcite and Palamon. Conversely, the injunction exerts a crucial influence on the destiny of the knights. The denouement of this series is Arcite’s accident on the tournament field. It is an event for which reasoned justification is inadequate, and neither the character and conduct of the gods behind Arcite's demise nor the avenue of moral casuistry with regard to the knights may satisfy us with the outcome. Chaucer emerges as the ultimate philosopher in the Knight’s Tale, exhorting for acceptance and hope in a mysterious world x^hich has an abiding sense of the unintelligible. Being the initial teller of tales is appropriate to the Knight, since his deferential and wise earnestness is all to the purpose of sentence and solaas. As he commences, nothing has been said of experience: we are at the point of a tabula rasa, and it is contributory to his stature that the Knight begins his tale free from the need to "quite" anyone. Rather, the Knight’s approach to his tale is much like the Parson’s. St. Augustine advises 3 teachers to enter into a bond of love with students, and I believe the Knight enters into such a bond and offers his narrative because he is humbled by it. The Knight conducts himself with humility ("meeke as is 4 4 a mayde"), first of the Christian virtues, and courtesy, both reflections not of mere propriety, but of the wise compassion for which his tale is the basis. In brief contrast, the vain Prioress is very occupied with manners and ostentatious appearences. However, she is not a superior realist, she is a sentimentalist (and this with her hounds and mousetraps!). Her tale carries out her contrast with the Knight by fully revealing the other side of the coin of her sentimentality: a kind of fierce vindictiveness. Amor vineit omnia (in the sense of caritas) is the antithesis of her tale, which is intractable in its prejudice and designed to gratify the most bald kind of bigotry. The Prioress is perfectly unconscious of the ironic comment her brooch makes *upon her story; nonetheless, just as she counterfeits cheer of court, she wears a brooch which in her possession is a counterfeit — not made of true mettle (caritas) — beneath the surface. Elsewhere in the Canterbury Tales the Knight's authority is signified when he becomes a peacemaker (see the Pardoner's Tale 960-968). For Chaucer, especially as a medieval poet, it goes without saying that such an action is revelatory of the idea, or the type of "a verray, parfit gentil knyght;" and that peace-making poses a genuine spiritual dimension to the ideal figure and his authority. Further, unlike even the Prioress , who is also high in station, the Knight is given no personal name: he is to be identified strictly with all that evinces his acumen and moral force. The Knight exercises his authority (in the Prologue of the Nun's Priest's Tale), to curb the Monk from dwelling interminably upon tragedies: "for litel hevynesse / Is right ynough to muche folk," he says. The Knight desires not to burden persons; he believes they need as well to hear of those who rise from poor condition and who "wexeth fortunat," in which is "joye and 5 greet solas." To return to his tale, its teller is of the stuff of affirma­ tion; there is no burden in it, unless it be the burden of the mystery.